Search results for 'Film' (try it on Scholar)

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  1. Aaron Smuts (2003). Film Theory Meets Video Games: An Analysis of the Issues and Methodologies in 'ScreenPlay'. [REVIEW] Film-Philosophy 7 (54).score: 27.0
    "ScreenPlay" is the first collection of essays devoted to exploring the relationship between cinema and video games. It attempts to introduce the field of video game studies while also increasing our understanding of the two artforms. Although not all of the essays are models of clear thinking on the subject, the volume will be a valuable resource for those working in film, philosophy, new media, and video game studies. Geoff King and Tanya Krzywinska have brought together a diverse collection (...)
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  2. Shawn Loht (2013). Film as Heideggerian Art? A Reassessment of Heidegger, Film, and His Connection to Terrence Malick. Film and Philosophy 17:113-36.score: 27.0
    Proposes a shift in thinking about the connection of Malick's filmmaking and the philosophy of Heidegger. My approach considers Heidegger's philosophy of art in order to develop some outlines of a Heideggerian philosophy of film. I also consider some aspects of Terrence Malick's films viewed as exemplar instances of the philosophical theory of film Heidegger's work can support.
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  3. David Martin-Jones (2010). What is Film-Philosophy? Round Table. Film-Philosophy 14 (1):81 mins.score: 27.0
    Held on Monday 12th October 2009, 5.30 - 7.00 pm, University of St Andrews, Scotland. Participants Dr Robert Sinnerbrink (Philosophy, Macquarie University, Sydney, Australia) Dr John Mullarkey (Philosophy, University of Dundee) Professor Berys Gaut (Philosophy, University of St Andrews) Dr David Martin-Jones (Film Studies, University of St Andrews) Dr William Brown (Film Studies, University of St Andrews)Over the course of at least the last hundred years the intellectual study of cinema has experienced a number of shifts towards and (...)
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  4. Keith Dromm (2013). The Facts Before Our Eyes: Wittgenstein and the Film Noir Investigator. Film-Philosophy 17 (1):1-18.score: 27.0
    This paper discusses the methods of the investigators in film noir. They are different than those employed by the classic detective of mystery and crime fiction, which involve observation, the collection of clues, logical inference, and are generally modeled on the methods of the scientist. I illuminate the methods of the noir investigator by comparing them to those applied by Ludwig Wittgenstein to philosophical problems. Both the noir investigator and Wittgenstein deal with problems that are intractable to the methods (...)
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  5. Paula Quigley (2011). Undoing the Image: Film Theory and Psychoanalysis. Film-Philosophy 15 (1):13-32.score: 27.0
    The primary aim of this article is to point up an essential attitude, an anxiety even, that has inflected – and perhaps inhibited - our engagement with film. Film theory has been marked by a ‘refusal to see, a looking away’ (Mulvey & Wollen 1976, 36), and my suggestion is that this has achieved its fullest expression in those strands of film theory heavily influenced by psychoanalysis. These, in turn, have remained within a gendered conceptual framework whereby (...)
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  6. Ben Tyrer (2013). Film Noir as Point de Capiton : Double Indemnity , Structure and Temporality. Film-Philosophy 17 (1):96-114.score: 27.0
    Reading noir and Lacan together can establish a structural corollary between the function of the signifier 'noir' in film criticism and the retroactive function of the point de capiton in Lacan's theory of language. Furthermore, at a narrative level, the function of the point de capiton can also be found in the retroactive constructions of film noir flashbacks. It is therefore possible to say that a retroactive 'noir temporality' is also the temporality of the Symbolic order. This article (...)
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  7. Noel Carroll (1996). Prospects for Film Theory: A Personal Assessment. In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. University of Wisconsin Press.score: 27.0
    Theory appears to have played the ideological-institutional role of enfranchiser, even if the role was ulti-mately an epiphenomenal one. Furthermore, the expectation of gold in "them thar hills" also encouraged too many university presses to invest in film publications, especially when the arcane peregrinations of Theory facilitated their rationalization of their relaxation of their traditional role as academic gatekeepers. Hence film studies has been flooded with repetitive decoctions of the Theory in search of the same market in much (...)
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  8. Shawn Loht (forthcoming). The Relevance of Heidegger's Conception of Philosophy for the Film-as-Philosophy Debate. Film and Philosophy 19.score: 27.0
    Provides an account of philosophy adopted from Being and Time and later works of Heidegger in order to respond to key questions in the film-as-philosophy debate. I follow the school of Stanley Cavell, Robert Sinnerbrink, and Stephen Mulhall in the view that philosophy occurs in film in phenomenological ways that transcend mere argumentative discourse and logical analysis. Some of the views I counter include those of Bruce Russell and Paisley Livingston.
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  9. Robert Sinnerbrink (2014). Cavellian Meditations: How to Do Things with Film and Philosophy. Film-Philosophy 18 (1):50-69.score: 27.0
    Stanley Cavell's writing on film has been an important inspiration for the recent 'philosophical turn' in film theory. But few studies have explored the significance of Cavell's style of writing, how it communicates his distinctive manner of thinking with film. This article explores Cavell's style as a way of doing philosophy, and suggests that his attempt to capture the aesthetic experience of film in evocative prose makes an important contribution to developing new ways of thinking in (...)
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  10. Robert Hopkins (2008). What Do We See in Film? Journal of Aesthetics and Art Criticism 66 (2):149–159.score: 24.0
    Many films are made by a two-tier process: the photographing of events which themselves represent the story the film tells. The latter representation is often illusionistic. I explore two consequences. The first concerns what we see in film. I argue that we sometimes see in such films, not events representing the story told, but simply the events composing that story. The way is thereby opened to a unified aesthetic of film, whether made the two-tier way or not. (...)
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  11. George M. Wilson (2007). Elusive Narrators in Literature and Film. Philosophical Studies 135 (1):73 - 88.score: 24.0
    It is widely held in theories of narrative that all works of literary narrative fiction include a narrator who fictionally tells the story. However, it is also granted that the personal qualities of a narrator may be more or less radically effaced. Recently, philosophers and film theorists have debated whether movies similarly involve implicit audio-visual narrators. Those who answer affirmatively allow that these cinematic narrators will be radically effaced. Their opponents deny that audio-visual narrators figure in the ontology of (...)
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  12. Richard A. Fumerton & Diane Jeske (eds.) (2010). Introducing Philosophy Through Film: Key Texts, Discussion, and Film Selections. Wiley-Blackwell.score: 24.0
    "Introducing Philosophy Through Film" combines this novel pedagogical approach with all the virtues of a serious introductory anthology of classical and ...
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  13. Paul Coates (1994). Film at the Intersection of High and Mass Culture. Cambridge University Press.score: 24.0
    At the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art, with particular reference to Hollywood and European cinema. Written in the essayist, speculative tradition of Walter Benjamin and Theodore Adorno, this study also includes analyses of several key films of the 1980s. Tracing the boundaries of such genres as film noir, science fiction and melodrama, it demonstrates how these genres were radically expanded by such filmmakers as Neil Jordan, Chris Merker and (...)
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  14. Mark T. Conard & Robert Porfirio (eds.) (2006/2007). The Philosophy of Film Noir. University Press of Kentucky.score: 24.0
    The Philosophy of Film Noir explores philosophical themes and ideas inherent in classic noir and neo-noir films, establishing connections to diverse thinkers ...
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  15. Robert van Es (2003). Inside and Outside the Insider: A Film Workshop in Practical Ethics. [REVIEW] Journal of Business Ethics 48 (1):89-97.score: 24.0
    The film The Insider offers an interesting story of leaking inside information by one character and clear whistleblowing by another. In both cases moral considerations are involved on a personal, professional, organizational and public level. As such the film can be used as an inviting cinematic introduction to applied or practical ethics. Three models of practical ethics are introduced. In the film workshop these models are the framework for the film analysis. A set up of the (...)
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  16. Felicity Colman (ed.) (2009). Film, Theory and Philosophy: The Key Thinkers. Acumen.score: 24.0
    Philosophy, and in particular continental philosophy, has provided a conceptual underpinning for cinema since its beginnings, especially in the development of cinematic aesthetics. In its turn, film has rethought the abstractions of space and time and the categories of sex and gender and has created new concepts which illuminate phenomenology, metaphysics and epistemology. -/- Film, Theory and Philosophy brings together leading scholars to provide a detailed overview of the key thinkers who have shaped the field of film (...)
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  17. Aaron Smuts (forthcoming). Philosophy of Film: A Contemporary Introduction. Routledge.score: 24.0
    Philosophy of Film: A Contemporary Introduction (Routledge) provides a critical overview of the literature on eleven different issues in the philosophy of film, from "What is Film?" to "Can Film Do Philosophy?" It aims to provide an objective overview of the principal arguments on each side of the issues. The set of issues includes all of the most important topics as well as some that are less well represented in the discipline, such as whether the power (...)
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  18. Christy Mag Uidhir (2012). The Aesthetics of Actor-Character Race Matching in Film Fictions. Philosophers' Imprint 12 (3).score: 24.0
    Marguerite Clark as Topsy in Uncle Tom’s Cabin (1918). Charlton Heston as Ramon Miguel Vargas in Touch of Evil (1958). Mizuo Peck as Sacagawea in Night at the Museum (2006). From the early days of cinema to its classic-era through to the contemporary Hollywood age, the history of cinema is replete with films in which the racial (or ethnic) background of a principal character does not match the background of the actor or actress portraying that character. I call this actor-character (...)
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  19. Joseph P. Magliano & Jeffrey M. Zacks (2011). The Impact of Continuity Editing in Narrative Film on Event Segmentation. Cognitive Science 35 (8):1489-1517.score: 24.0
    Filmmakers use continuity editing to engender a sense of situational continuity or discontinuity at editing boundaries. The goal of this study was to assess the impact of continuity editing on how people perceive the structure of events in a narrative film and to identify brain networks that are associated with the processing of different types of continuity editing boundaries. Participants viewed a commercially produced film and segmented it into meaningful events, while brain activity was recorded with functional magnetic (...)
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  20. Jeremy Tambling (1987). Opera, Ideology, and Film. St. Martin's Press.score: 24.0
    INTRODUCTION Opera and film. Though these two cultural forms are not often thought of together, they have actually existed in an interesting symbiosis, ...
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  21. Tom McClelland (2011). The Philosophy of Film and Film as Philosophy. Cinema 2:11-35.score: 24.0
    This paper is primarily concerned with the idea of film as philosophy (FAP) and explores some of the problems that this notion raises. Putting documentary and art films aside, I will focus on the idea that popular narrative film can “be” philosophy. The two over-arching issues surrounding FAP can be captured by way of an analogy. Someone suggests that you go to the cinema tonight to see a popular new film. In response to this suggestion there are (...)
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  22. John Bleasdale (2010). Venice Film Festival 2009: Survival of the Fittest. Film-Philosophy 14 (1):274-286.score: 24.0
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  23. Saër Maty Bâ & Will Higbee (eds.) (2012). De-Westernizing Film Studies. Routledge.score: 24.0
    The book combines a series of chapters considering a range of responses to the idea of 'de-westernizing' film studies with a series of in-depth interviews with filmmakers, scholars and critics.
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  24. John Bleasdale (2009). Now Wait for Last Year: A Report From the 65th Venice International Film Festival 2008. Film-Philosophy 13 (1).score: 24.0
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  25. Michael D. Gose (2006). Getting Reel: A Social Science Perspective on Film. Cambria Press.score: 24.0
    This book is an easy-to-read, fun and provocative discussion of how to understand, appreciate, and evaluate film. Written by professor and film guru Michael Gose, the book is loved by students and moviegoers alike.
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  26. Aaron Smuts (2003). Multiple Inheritance and Film Identity: A Reply to Dilworth. Contemporary Aesthetics 1:1-3.score: 24.0
    I argue that Dilworth has not shown the type / token theory of film identity to be non-viable, since there is no reason to think that a single object cannot be a token of two types. Even if we assume a single inheritance view of types, Dilworth's argument runs into other problems. Dilworth does not provide any convincing argument as to why intentions are necessary for identifying film and why production history alone will not suffice for identifying hardly (...)
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  27. Margrethe Bruun Vaage (2009). Self-Reflection: Beyond Conventional Fiction Film Engagement. Nordicom Review 30:159-178.score: 24.0
    Idiosyncratic responses as more strictly personal responses to fiction film that vary across individual spectators. In philosophy of film, idiosyncratic responses are often deemed inappropriate, unwarranted and unintended by the film. One type of idiosyncratic response is when empathy with a character triggers the spectator to reflect on his own real life issues. Self-reflection can be triggered by egoistic drift, where the spectator starts imagining himself in the character’s shoes, by re-experiencing memories, or by unfamiliar experiences that (...)
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  28. Douglas Morrey (2012). To Describe a Labyrinth: Dialectics in Jacques Rivette's Film Theory and Film Practice. Film-Philosophy 16 (1):30-54.score: 24.0
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  29. Jesús Alcolea-Banegas (2009). Visual Arguments in Film. Argumentation 23 (2):259-275.score: 24.0
    Our aim is to point out some differences between verbal and visual arguments, promoting the rhetorical perspective of argumentation beyond the relevance of logic and pragmatics. In our view, if it is to be rational and successful, film as (visual) argumentation must be addressed to spectators who hold informed beliefs about the theme watched on the screen and the medium’s constraints and conventions. In our reflections to follow, we apply rhetorical analysis to film as a symbolic, human, and (...)
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  30. Nancy Bauer (2005). Cogito Ergo Film: Plato, Descartes, and Fight Club. In Rupert Read & Jerry Goodenough (eds.), Film as Philosophy: Essays on Cinema After Wittgenstein and Cavell. Palgrave Macmillan.score: 24.0
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  31. Sheryl Tuttle Ross (2013). Sharon Lin Tay (2009) Women on the Edge: Twelve Political Film Practices. Film-Philosophy 17 (1):487-492.score: 24.0
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  32. Adriano D'Aloia (2010). Francesco Casetti (2008) Eye of the Century: Film, Experience, Modernity. Film-Philosophy 14 (2).score: 24.0
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  33. Elspeth Kydd (2011). The Critical Practice of Film: An Introduction. Palgrave Macmillan.score: 24.0
    Machine generated contents note: -- PART I: CRITICAL PRACTICE -- The Critical Practice of Film -- PART II: FILM FORM -- Narrative Film -- Documentary Film -- PART III: TECHNIQUES OF FILM -- Cinematography -- Mise-en-Scène -- Sound -- Editing -- Music -- PART IV: ANALYSIS AND CRITICAL PRACTICE -- Interpretation and Analysis of Film -- Critical Practice in Action.
     
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  34. Martha P. Nochimson (2009). New York Film Festival 2008 - Part II: Of Now, Passion, and the 'We'. Film-Philosophy 13 (1).score: 24.0
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  35. Martha P. Nochimson (2010). New York Film Festival 2009: Gimme Provocation. Film-Philosophy 14 (1):287-302.score: 24.0
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  36. Andrew McGregor Olney (2012). Predicting Film Genres with Implicit Ideals. Frontiers in Psychology 3.score: 24.0
    We present a new approach to defining film genre based on implicit ideals. When viewers rate the likability of a film, they indirectly express their ideal of what a film should be. Across six studies we investigate the category structure that emerges from likability ratings and the category structure that emerges from the features of film. We further compare these data-driven category structures with human annotated film genres. We conclude that film genres are structured (...)
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  37. Warren Buckland (2012). Film Theory: Rational Reconstructions. Routledge.score: 24.0
    Introduction -- An improbable alliance : Peter Wollen's "The auteur theory" -- Visual stylometry : Barry Salt's "Statistical style analysis of motion pictures" -- Between Shakespeare and Sirk : Thomas Elsaesser's "Tales of sound and fury: observations on the family melodrama" -- From iconicity to semiotic articulation : Christian Metz's "cinema: language or language system?" and language and cinema -- Film as a specific signifying practice : Stephen Heath's "On screen, in frame: film and ideology" -- Against theories (...)
     
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  38. Martha P. Nochimson (2009). New York Film Festival 2008 - Part I: Of Time, Memory, and the 'I'. Film-Philosophy 13 (1).score: 24.0
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  39. Fabio Vighi (2012). Critical Theory and Film: Rethinking Ideology in Cinema. Continuum.score: 24.0
    Introduction -- The dialectic's narrow margin: film noir between Adorno and Hegel -- On critical theory's dialectical dilemma -- a configuration pregnant with tension: Fritz Lang for critical theory -- Coda: the enjoyment of film in theory.
     
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  40. Andrea Werner (2013). 'Margin Call': Using Film to Explore Behavioural Aspects of the Financial Crisis. Journal of Business Ethics:1-12.score: 24.0
    The aim of this article is to show how the critically acclaimed and award winning film Margin Call may be used in business ethics teaching. Set in a fictional investment bank at the dawn of the financial crisis, the film zooms in on the motivations and decision-making of people who had much to lose from the crash of the hitherto very profitable mortgage-backed securities market. The film offers rich material for analysis of behaviours that contributed to the (...)
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  41. Aaron Smuts (2009). Film as Philosophy: In Defense of a Bold Thesis. Journal of Aesthetics and Art Criticism 67 (3):409-420.score: 22.0
    I argue for a position close to what Paisley Livingston calls the bold thesis of cinema as philosophy. The bold thesis I defend is that films can make innovative, independent philosophical contributions by paradigmatic cinematic means. I clarify the thesis before presenting what Livingston thinks is a fatal problem for any similar position—the problem of paraphrase. As an example in defense of the bold thesis, I offer the "For God and Country" sequence in Sergei Eisenstein’s October (1928). I argue that (...)
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  42. Susan Wolf & Christopher Grau (eds.) (2013). Understanding Love: Philosophy, Film, & Fiction. Oxford University Press.score: 22.0
    This collection of original essays, written by scholars from disciplines across the humanities, addresses a wide range of questions about love through a focus on individual films, novels, plays, and works of philosophy. The essays touch on many varieties of love, including friendship, romantic love, parental love, and even the love of an author for her characters. How do social forces shape the types of love that can flourish and sustain themselves? What is the relationship between love and passion? Is (...)
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  43. Kurt W. Schmidt (2000). „Herr Doktor, Sagen Sie Mir Die Wahrheit ...”– Zur Darstellung Medizinethischer Konflikte Im Film. Ethik in der Medizin 12 (3):139-153.score: 22.0
    Movies tell stories. Thrilling are especially those situations, when people have to make ethical decisions. Issues of medical ethics crop up not only in hospital series, but often in genres where this subject is hardly to be supposed: comedies, westerns, love stories and gangster movies. Enacting these conflicts means offering a solution, and in doing so films refer to moral values and – at the same time – function as seismographs for the social relevance of bioethical topics. But it is (...)
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  44. Basileios Kroustallis (2012). Film as Thought Experiment: A Happy-Go-Lucky Case? Film-Philosophy 16 (1):72-84.score: 21.0
    Can some films be genuine thought experiments that challenge our commonsense intuitions? Certain filmic narratives and their mise-en-scène details reveal rigorous reasoning and counterintuitive outcomes on philosophical issues, such as skepticism or personal identity. But this philosophical façade may hide a mundane concern for entertainment. Unfamiliar narratives drive spectator entertainment, and every novel cinematic situation could be easily explained as part of a process that lacks motives of philosophical elucidation. -/- The paper inverses the above objection, and proposes that when (...)
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  45. Felicity Colman (2011). Deleuze and Cinema: The Film Concepts. Berg.score: 21.0
    Introduction : Deleuze's cinematographic consciousness -- Ciné-system -- Movement : the movement-image -- Frame, shot and cut -- Montage -- Perception -- Affect -- Action -- Transsemiotics -- Signs (vector) -- Time -- Politics -- Topology -- Thought -- Conclusion : cinematographic ethics.
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  46. Bernward Joerges (1996). Stadt Und Film. Versuche Zu Einer 'Visuellen Soziologie' Herausgegeben von Matthias Horwitz, Bernward Joerges Und Jörg Potthast Mit Beiträgen von B. Joerges, D. Kress, A. Krämer, D. Naegler Und J. Potthast. In Bernward Joerges, Jörg Potthast & Mathias Horowitz (eds.), WZB Discussion Papers. WZB.score: 21.0
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  47. Ruchika Mishra (2009). Hakani: A Film Review. [REVIEW] Journal of Bioethical Inquiry 6 (1):135-137.score: 21.0
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  48. Robert B. Pippin (2011). Fatalism in American Film Noir: Some Cinematic Philosophy. University of Virginia Press.score: 21.0
    Introduction -- Trapped by oneself in Jacques Tourneur's Out of the past -- "A deliberate, intentional fool" in Orson Welles's The lady from Shanghai -- Sexual agency in Fritz Lang's Scarlet Street -- "Why didn't you shoot again, baby?": concluding remarks.
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  49. C. Plantinga (1995). Movie Pleasures and the Spectator's Experience: Toward a Cognitive Approach. Film and Philosophy 11 (4).score: 21.0
    This essay offers an alternative approach to film pleasure, from what might broadly be called a cognitive/affective psychology. As a prolegomena to a fuller understanding of spectator experience, it gives a phenomenological account of various types of film pleasures.
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